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22 Sentences With "childlike simplicity"

How to use childlike simplicity in a sentence? Find typical usage patterns (collocations)/phrases/context for "childlike simplicity" and check conjugation/comparative form for "childlike simplicity". Mastering all the usages of "childlike simplicity" from sentence examples published by news publications.

Instead, she achieved just the right balance of tonal refinement and childlike simplicity to make this vision of heavenly life ethereal indeed.
There are a few naïve artists included, like Sava Sekulić and Matija Staničić, whose work is characterized by childlike simplicity of execution.
This gently dignified piece, with childlike simplicity and few extremes, all but dares its soloist to achieve majesty at a whisper, to only suggest virtuosity.
One, "Lay All Your Love On Me," seems like a laugh-out-loud tribute to Abba: four lines delivered with childlike simplicity — a straightforward vocal melody accompanied by a vibraphone — that, repeated and evolving, blossom into a chorale of surprising beauty.
But "887" has a lot less "Götterdämmerung" than much of his work, and its best moments share a childlike simplicity, as when he stands just to the side of the model apartment house and watches a miniature version of his beloved father's taxi drive away, its sign mournfully ablaze.
The climax of Part III is an elaborate interweaving of hymnss, spirituals, and patriotic songs. Despite its variety in mood and orchestration, the composer says that he aimed at an overall effect of childlike simplicity and innocence.
Wherever he journeyed around the world, he was sought after for his wisdom, his loving and childlike simplicity, and for his love and brotherhood. He was known to engage in deep meditation for days at a sitting and easily traverse time, space and lives. He attained samadhi (left his worldly body) on the 22 April 1994 in New Delhi.
Friedrich Schiller linked the Pastoral to childhood and a childlike simplicity. For Schiller, we perceive in nature an “image of our infancy irrevocably past”. Sir William Empson spoke of the ideal of Pastoral as being embedded in varying degrees of ambivalence, and yet, for all the apparent dichotomies, and contradicting elements found within it, he felt there was a unified harmony within it.
The book, on the whole, portrays Erdős in a favourable light, pointing out his many endearing qualities, like his childlike simplicity, his generosity and altruistic nature, his kindness and gentleness towards children. However, it also attempts to illustrate his helplessness in doing mundane tasks, the difficulties faced by those close to him because of his eccentricities, and his stubborn and frustrating behaviour.
He was a direct disciple of Sri Ma Sarada Devi. His childlike simplicity and love for nature made him a popular Sadhu in no time. Till date he is remembered as one of the most affectionate monks of the Math in Lucknow. At one time all this appeared almost impossible especially with the kind of problems the monks had to face in Aminabad.
Here, for example, his fellow academic Arvind Sharma recalls a moment with Abe at a conference in 1986: > Abe broke into a smile. I still remember it vividly because it had a > compelling ineffable quality about it. It was so totally unencumbered. It > seemed curiously and totally detached from the environment, a happening > complete in itself, with a childlike simplicity beguiling in its > guilelessness.
In 2012 Paola created Colourful World, one of the 200 giant fibreglass eggs hidden across London as part of The Big Egg Hunt. She was inspired to paint the globe as an interlocking jigsaw, using primary colours to suggest a playful childlike simplicity which contrasts with the complex reality of geopolitics. The egg was featured in numerous publications in the UK and Bulgaria. It sold at auction for £4350.
With his cosy domesticity, his childlike simplicity, and kindly hospitality, Mr Woodhouse has been seen as a charming figure by generations of readers – as one of the most enchanting of chumps.S. Kaye-Smith, Talking of Jane Austen (London 1946) p. 34–5 A minority of critics, however, have taken a rather harsher view. Ronald Blythe, for example, insists that "Mr Woodhouse, so wrongly and oddly regarded as an old pet by generations of readers, is actually a menace",R.
Holman, p. 175 However, this veneer of childlike simplicity is misleading; aside from proving themselves irresponsible as guardians, they are also provocative, sarcastic and cruel in their interaction with Alberich.Das Rheingold, Scene I When the demigod Loge reports that the Rhinemaidens need Wotan's help to regain the gold, Fricka, the goddess of marriage, calls them a "watery brood" (Wassergezücht) and complains about the many men they have lured away with their "treacherous bathing".Mann, Das Rheingold p.
Like Blyth, he acknowledged the many good things that Horne brought to the opera - her genius for vocal gymnastics, her dependable evenness of tone, her dramatic intensity in Mignon's Act 2 crisis. But, also like Blyth, he did not think that she was the right artist to portray a character of "naïveté and childlike simplicity". Confronted by a Mignon sung with a voice as mature and authoritative as hers, "credulity [was] severely tested in being asked to accept [her] as a forlorn waif". Fortunately, Horne's was the only casting that was questionable.
Fischer's grave in Budapest Her playing has been praised for its "characteristic intensity" and "effortless manner of phrasing" (David Hurwitz), as well as its technical power and spiritual depth. She was greatly admired by such contemporaries as Otto Klemperer and Sviatoslav Richter; Richter wrote, "Annie Fischer is a great artist imbued with a spirit of greatness and genuine profundity." The Italian pianist Maurizio Pollini praised the "childlike simplicity, immediacy and wonder" he found in her playing. Her interpretations of Mozart, Beethoven, Brahms, Schubert and Schumann, as well as Hungarian composers like Béla Bartók continue to receive the highest praise from pianists and critics.
Being from the lowest stratum, these people are easily moved from their habitual places of residences by the rich and become increasingly isolated in the middle of new pavements and multi-storied houses. Annie is witness to these changes taking place around her, in 'Kodichiangadi' and 'Kokkanchira'. She describes these changes affecting her and her family through her childlike eyes and perspective. Hence it is with childlike simplicity that she observes the demolition of a stretch of single-roomed houses to make way for a bungalow and the rise of a convent near to her own home, in a plot that used to be vacant.
"'Toronto Star', 8 June 2003 At the time the father of an infant son, Yorke adopted a strategy of "distilling" the political themes into "childlike simplicity". He took phrases from fairy tales and folklore, such as the tale of Chicken Little, and children's literature and television he shared with his son, including the 1970s TV series Bagpuss, whose creator Oliver Postgate is thanked in the liner notes. Parenthood made Yorke concerned about the condition of the world and how it could affect future generations. Jonny Greenwood felt Yorke's lyrics expressed "confusion and escape, like 'I'm going to stay at home and look after the people I care about, buy a month's supply of food'.
It is concluded by the novel's end that the town of Cheshunt was not only a place that harboured "evil" as a force, but had been "scarred" by evil as a choice and consequence of mankind, perpetuating a sort of vicious circle. This theory extends the fundamental theme of Good Vs Evil beyond both the concept of Good and Evil as two separate, mutually exclusive forces of life and the more humanistic concept of both good and evil as components of human nature by incorporating these two ideas into one. It is perhaps this device that contributed to the books popularity amongst children, as it depicts the world with both childlike simplicity and mature, analytical complexity. It is suggested within this book that evil, like history, has a habit of repeating itself.
Mr Pickwick as illustrated by Harold Copping in 1924 Believed to have been named after the British businessman Eleazer Pickwick (c.1749-1837), although he is the main character in The Pickwick Papers Samuel Pickwick is mostly a passive and innocent figure in the story around whom the other more active characters operate. Having an almost childlike simplicity, Pickwick is loyal and protective toward his friends but is often hoodwinked by conmen and poseurs; he is always gallant towards women, young and old, but can also be indecisive in his dealings with them. To extend his researches into the quaint and curious phenomena of life, Pickwick creates the Pickwick Club and suggests that he and three other "Pickwickians" (Mr Nathaniel Winkle, Mr Augustus Snodgrass and Mr Tracy Tupman) should make journeys to places remote from London and report on their findings to the other members of the club.
Scholar Janet T. Marquardt argues that Buchanan treats shacks not as documentary elements but as "images of endurance and personal history"; often using bright colors and a style of childlike simplicity, the works "evoke the warmth and happiness that can be found even in the meanest dwelling, representing the faith and caring that is not reserved for privileged classes." Her art takes the form of stone pedestals, bric-a brac assemblages, funny poems, self portraits and sculptural shacks. But potent themes of identity, place and collective memory unite the works uncovering the animus that runs through them: to connect with those around her and reckon with the history that shaped her communities. In 1981, Buchanan created Marsh Ruins, a temporal land art sculpture in coastal Georgia near a commentated site known as “The Marshes of Glenn.” To the east of the work was Saint Simons Island, where a group of Igbo people sold into slavery collectively drowned themselves in 1803.
Since the turn of the 21st century, Edwards' music, especially in his diverse larger scale works, has begun to integrate the many consistent elements of his earlier work – ranging from childlike simplicity, embellished Eastern pentatonicism, medieval Western modality, fragments of plainchant, occasional outbursts of expressionistic angst, complex textures which include the development of motives and Western counterpoint, Eastern heterophony, and a deep spiritual dimension with both Eastern and Western overtones. There are allusions to indigenous music but not direct quotations: where the didjeridu occurs its function has always been discussed between composer and performer. To these he has often added theatre and ritual, costume, lighting and dance, most manifest in such orchestral works as Bird Spirit Dreaming (2002), Full Moon Dances (2012) and Frog and Star Cycle (2015). Cultural symbols such as the Virgin Mary and her Eastern equivalent, Guanyin, goddess of compassion, make frequent appearance in the guise of the Earth Mother, protector and nurturer of the environment – Edwards' work has always had a strongly ecological focus.

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